Derrick Carter in The Boiler Room Audio & Video

Derrick Carter in The Boiler Room; get your ears round this.

Meet the wanderer... Romanthony

House veteran Romanthony talks on camera to Slices about his lean production period following the success of "One More Time" alongside Daft Punk.

Make Me - October Video Interview

October is without doubt one of the most talented producers to come out of the UK in the past few years. Pushing deep, intelligent house and techno from his base in Bristol on his labels Caravan and TANSTAAFL. Luckily for us he's also a sick DJ with one of the deepest record bags we've ever come across.

We took a few minutes to catch up with him literally minutes after he'd finished warming up for Panorama Bar doyenne Steffi.

Be sure to check our next party on Friday 9th November with Roman Flugel and BNJMN: residentadvisor.net/event.aspx?378997

Make Me - October Interview from Make Me on Vimeo.

Video Interview with A1 Bassline

The young producer, fresh from the release of his most far-reaching 12-inch to date, speaks on camera about his drum & bass roots, new label and the importance of listening to Skrillex.

Southport Weekender 48: Video Summary by Kumigar

I saw this video last night and just thought it was amazing. How one persons love for house music led her all the way from one side of the world to another......


Get inspired.... Make it Count... :-)





And for those that missed Kerri Chandler & Karizma.......

Maya Jane Coles: Dj Kicks Video Interview

Ahead of the release of her DJ-Kicks mix Coles chats on camera about her approach to DJing and production and why she never gets writers' block.

Osunlade Video Interview On Defected In The House

Osunlade talks about his forthcoming In The House compilation and see him DJing at London's HOrse & Groom

Video Interviews with Ron Trent, DJ 3000, Rick Wilhite, Mike Huckaby +

Footage and interviews with Ron Trent, DJ 3000, Rick Wilhite, Mike Huckaby and more.

Huxley video interview on finding his sound

The UK house producer talks on camera about the success of recent tracks like "Shower Scene" and "Let It Go" and what it took to reach this creative head space.






Originally posted here: http://eqtv.dj/video/huxley-eqtv-presents/

Video Documentary: Jack to Juke: 25 Years of Ghetto House

"Currently all the rage with hipsters worldwide, Chicago Juke music has roots that run deep. This documentary chronicles the birth and evolution of a genre over 25 years."



From Jack to Juke: 25 Years of Ghetto House from Sonali Aggarwal on Vimeo.

Ableton Live Tips: Launch Properties and Follow Actions

Cool tips for all you Ableton Live users; if you’ve been wanting to get a little deeper below the surface and find out how you can really customise Live into the rig of your dreams then you really should know how you can manipulate the Launch Properties of the clips you use, including Follow Actions.

It’s not that difficult to get your head around how to get these tricks to work for you, but it’s probably easier if I just show you. I’ve recorded a video to help bring you up to speed:

To recap:

To get more interesting behaviour out of Live, we can change clips’ launch properties. In the video I show how we can use these techniques to get two different effects.

In the first example I take four drum loops that are each two bars long and put them all in the same track, which by default makes each cut the other off, inheriting the global launch quantisation when triggered.

To change this I can do a couple of things, and it all starts by unlocking the Launch Properties viewer for clips, located at the bottom of the clip properties view hidden behind a small L in a circle. First off changing the clip launch mode to Legato will stop the clips launching from the beginning no matter what timing they’re triggered with, instead allowing them to pick up the timing of the previous clip. Because the clips all have the same timing (if layered on top of each other they would play together), enabling Legato for each clip will mean that when we switch between clips we’ll get an effect akin to chopping between channels with a crossfader – we can make this effect further pronounced by tightening the launch quantisation settings or even switching them off as I do in the video.

The clip switching itself can be automated with Follow Actions; upon launching the clip, something else can be set to happen a certain amount of time. There’s a bars/beats/16ths timing selector, and in the video example I decide to make Live switch between loops automatically on every 8^th, so I set the last of the boxes – the 16^thnote selector – to 2 (2/16ths equals 1/8^th). We can then select two actions that will happen this amount of time after the clip is triggered and the ratio chance of each happening; in the video I decide I want it equally likely that any of the four clips will play next so I select Any in one box, and because I always want that to happen, I leave the next action blank but set the ratio of ‘switching to any’ vs ‘staying put’ to 999:0. As long as the No Action (‘staying put’) action has zero chance of happening, it doesn’t matter what the other option is set to, of course. Now when played, there’s a 3:1 chance that the loop will switch to another loop – there’s a 1:3 chance it will stay on the same loop – so as you can see, there’s multiple ways to consider the logic of Follow Actions.

In the second example I set a one bar loop up to sequence itself in 8^th notes in the clip sequencer. By duplicating the single bar into eight versions of itself (right click > Duplicate or Cmd/Ctrl+D) on the same track, we now have eight potentially different versions of the loop to trigger.

By changing the start point of each loop to stagger them an 8^th further in time for each one going down, we make it so that triggering each version of the loop chops us to a different point in time. Because we’ve set the start point of the clips up manually, this time we’re going to leave Legato mode off.

In order to create a visual representation of the loop’s sequence, we’re going to set the Follow Actions of the clips to make them play the Next clip in the sequence an 8^th (the amount of time, in this example, between each ‘chop’) after they’re triggered. Of course, for the final clip the sequence needs to return to the beginning, so for that clip we need to jump to the First in the track. We use the same logic as the first example for the Follow Actions: the first action is Next (or First) and the second is No Action, with odds of 1:0.

So, here are the main points:

• Launch properties work on audio and MIDI clips.
• The numbers at the bottom of the follow actions are the ratio likelihoods of them happening. If one’s zero, it doesn’t matter what you set the second to – it’ll happen 100% of the time (unless it’s also zero of course!). You could also think of this as the ‘odds’ of the action occurring.
• You can select multiple clips to save the tedious act of changing every clip individually.
• A big advantage to this is that if you have a controller with visual feedback for playing clips – like pads that light up – you’ll get a fantastic real-time step sequencer in front of your eyes.
• You can get really deep with the ratios of things happening, so experiment – but don’t get bogged down with automating everything to the point where there’s no point in you even being there!

Originally posted:-

http://www.djtechtools.com/2012/01/03/ableton-live-tips-launch-properties-and-follow-actions/

Remixing the World: A Sampler of Sampling

The possibilities of a microphone and the world are limitless, so as this week we looked at a recording of music made with playgrounds, a mic, and Ableton Live, readers responded in kind with a fantastic spectrum of sampling-inspired, real world-produced musical wonder.

Derrick Carter: A Classic Revival

Transcendental experiences at raves were a dime a dozen, but I actually had one in some ruined industrial shell of a warehouse back in 1994 without the aid of small pills with numbers stamped on them. It came when Derrick Carter (Facebook, twitter) played "When Doves Cry" over Plastikman's minimal "Spastik" and 2,000 teenagers simultaneously lost their minds.

Seventeen years later and Derrick Carter is one of House Music's icons. Few DJs in our era have earned their reputation one room at a time, one person as a time, simply as DJs. And he still rides without a seatbelt, with the same playful daring that exposed a room wild-eyed kids to Prince and a harsh bit of techno from Richie Hawtin. And while he does have a weighty discography and the pedigree as co-founder of Classic Music Company (the most interesting House Music label that ever existed), Derrick to me is still primarily a DJ. Book him for an event and you'll have no idea what he'll do... but you know people (teenagers or not) will leave having lost their damn minds.

 

(Article originally published by our friends over at 5 magazine>http://www.5chicago.com/features/october2011/derrick-carter/index.html)

DJ Spinna – Video Interview with Dubspot

Spinna talks DJing, Hip Hop, Electronic Dance Music + more......

Tuesdays Tech: Logic Pro Video Tutorial: Using Side Chain Compression

Tuesdays Tech: Playing Melodies with Vocal Samples

In this tutorial, Matt Shadetek shows you how to manipulate, re-pitch, and process vocal samples using Logic Pro 9’s ESX24 Sampler and Pitch Correction plug-in. Utilizing one of the vocal samples that comes with Logic, Shadetek slices each individual note of the sample, converts them into a sampler instrument. Shadetek delves into the ESX24 Instrument Editor, in order to re-pitch the vocal samples and make them playable across the keyboard. He then utilizes Logic’s Pitch Correction plug-in (similar to Antares Auto-tune), which he uses to refine the pitch of the re-pitched notes. At the end of the tutorial, you should have a strong grasp of how to take a sample and play your own melody with it in Logic’s EXS24 sampler.

Detroit The Blueprint Of Techno

Derrick May, Kevin Saunderson, Juan Atkins, Terrence Parker, Mike Huckaby, Richie Hawtin and Carl Craig all feature in this rare late '90s documentary on the history of techno in Detroit.

Mark de Clive-Lowe (Tru Thoughts, LA) Dubspot Video Interview + Maschine Training

Los Angeles based multi-instrumentalist producer, composer, DJ, and performer Mark de Clive-Lowe recently dropped by Dubspot NYC to check out Native Instruments Maschine and discuss his approach to music production, performance, and workflow. The New Zealand-Japanese keyboard extraordinaire is an incredible live performer, known for bringing the studio to the stage utilizing drum machines, keyboards, and effects.  He sat down with Dubspot Instructor Heinrich Zwahlen for a session on workflow and beat making with Maschine, NI’s versicle groovebox which is currently redefining the intersection of hardware and software, production and performance. Mark has lent his unique sound and production techniques to artists ranging from Lauryn Hill to Leon Ware. He has collaborated with musicians including Sheila E and Pino Palladino, and released music on labels such as Louie Vega’s Masters At Work Records and prestigious jazz imprints such as Verve and Impulse! MdCL has a forthcoming album titled Renegades on Tru Thoughts. 

Maschine Mikro : Finger Drumming

Native Instruments reveals some big news for Maschine that’s … well, smaller. A new package has smaller hardware and lower price, with the same full-sized software. And an iOS version lets you use Maschine on iPad or iPhone.

As their drum machine / drum sampler / groove workstation with plug-in hosting and doubling as plug-in matures, and becomes a focus of NI’s production and performance side, things are starting to heat up. And yes, this news comes just as we learn more about an upcoming analog drum machine. It’s a Labor Day full of drum machines.

Shrunken Maschine: Maschine Mikro is, for me, the best news. It’s cheaper than the full Maschine package. It’s smaller and lighter, with a more compact controller. You might expect NI trimmed down the samples set – nope, it’s the same 6 GB ibrary. Or maybe they added a “lite” version of the software – nope, it’s the same, full Maschine version. And you still get full-sized pads. The Maschine pads are some of my favorite currently on the market – controller or otherwise – so that’s quite nice, indeed. You do sacrifice some hands-on control: the Mikro lacks the big, beautiful screens on the full Maschine, and the additional knobs and triggers. The eight macro knobs on the full Maschine are pretty handy, as are dedicated group buttons.

So, why would I think Mikro’s a good idea? Simple: when you’re on the road, or performing live onstage in cramped spaces, the Mikro looks like a winner, and all with the same software and at a lower price. For studio use, the full Maschine is still your best choice. But I’m personally going to switch out to the Mikro, especially because – like many people, I suspect – it’ll ultimately be combined with another controller in my workflow. You can have a closer look at our two product shots from NI and decide for yourself. (Yes, there’s a Maschine Bag, and yes, I was just talking to King Britt about his on-the-go luggage setup with his Maschine, but I’m still partial to smaller and lighter!)

Finger drumming video: NI has also released a promo vid of finger-drumming virtuoso Jeremy Ellis tearing apart their new hardware. It’s supposed to make you want to buy a Mikro, or something, except it may make you feel somewhat … inadequate … with your own finger drumming, instead.

Musaria Feat. Saturna - Moment (Atjazz Re-Fix) New Video

From the flurry of excitement surrounding the original ‘Atjazz Remix’ of this classic house song featuring the sultry vocals of ‘Saturna’ we bring to the table a brand new set of beat ridden floor fillers, in the form of ‘Moment (Atjazz Re-Fixes)’. Although the term ‘Re-Fix’ may hint that there was something broken with the original remix, this is not the case. Martin ‘Atjazz’ has once again spun the deep house world around on the spot and has ripped things up even more with these stunning house bouncers.

Following the original arrangement, the ‘Re-Fix’ explores a more experimental rhythm, starting things off with it’s usual Kick & Click this song helps you to feel at home and then it all bumps in with newly formed afro-tech drums that drive this new ‘Re-Fix’ forwards with nothing holding back its development, If you like house music of any style, we’re sure you’re going get your head around this one.

Mr. Atjazz has also delivered one of his trademark ‘Astro Remixes’, one for the heads you might think, but these astro workouts are fast becoming a trendy piece of dance-floor art to have as a constant in the old CD Pouch. Broken beat is more than alive and kicking here and this particular recording boasts the snazzy character this genre always had. Bubbling bass & beats coupled with lush chords is pretty much all we need for a good night out and we hope this brings you as much pleasure as it brings us. This is a true killer on the dance-floor and is a must for all house DJs.

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